An overview of how Akshaye Khanna has become one of the most sought out character artists in today’s times with a range of characters whether it’s playing the antagonist or police parts among others
Starting from the year 1997 Akshaye Khanna has featured in over 40 movies as a leading man, second lead and character artist roles. As a conventional leading man Akshaye didn’t much have success with the song and dance routine: however, Akshaye has had a great run of form with layered characters where there is no baggage of a mainstream hero as well as a star kid. There was a significant gap of four years when Akshaye took a sabbatical 2012-2016 but the comeback has been resounding to say the least.
One of Akshaye Khanna’s most iconic characters came in the movie Dil Chahta Hai directed by Farhan Akhtar. Over the years the character Sid has become a fan favourite. The role is more mature in comparison to the ones played by Aamir and Saif. There is an understated romance to his scenes with Dimple Kapadia making the viewers wish that they had a happy ending. Akshaye Khanna especially stands out in the interval block with Aamir when the latter chides him for falling in love with a much older woman.
One of Akshaye’s biggest strengths is letting his work doing the talk rather than indulging in extra pr machinery. He comes and chews the scenery, then goes underground resurfacing again at the time of his next release. The perfect example of this attitude is the latest release Dhurandhar. Akshaye has received a lot of praise and rightly so for his fantastic portrayal of Rahman Dakiat. Akshaye has been called the scene stealer overshadowing Ranveer but there have been zero interviews from Akahaye about his show stealing turn. Of course this method doesn’t work for every actor as each has a different personality. Akshaye meanwhile has quietly moved on to his Telugu debut Mahakali amidst both the mega success and also the controversial exit from Drishyam 3. Akshaye Khanna’s attitude towards acting may appear non serious but the intensity which he brings on screen is terrific.
Akshaye Khanna’s Telugu debut Mahakali
In simple terms he has constantly reinvented himself with a variety of characters and is currently in the best phase of his career. Along with Bobby Deol Akshaye Khanna is another example of how some actors peak much later in their careers.
Following are some of Akshaye Khanna’s best performances across different genres
Much before the negative roles in 2025’s Dhurandhar and Chhaava Akshaye Khanna delivered some scintillating acts in the films Race, Humraaz and Section 375. All these come under negative/grey roles. In the first Race Akshaye played a calculative and cunning man, the character Rajiv Singh alternates between brotherly affection and scheming against his own sibling. Akshaye pulled off the different shades with finesse: his work especially stands out in the scene of Rajiv pouring out his frustration regarding his half elder brother.
In Humraaz Akshaye played a conman Karan Malhotra. Karan is very good at deception, and this is revealed gradually. The best part of Akshaye’s performance is the slyness with which he plays the role particularly in the second half when the malicious side comes to the fore. Much like Race this is also a character with simmering anguish. He starts off as an ardent lover before turning into a spiteful man. Akshaye pulled off this transformation in an excellent manner.
In Ajay Behl’s Section 375 Akshaye is defence lawyer Tarun Saluja. He played a shrewd layer fighting for a filmmaker accused of rape. Tarun is a firm believer in the quote “We are not in the business of justice; we are in business of law”. In short his ideology differs significantly from Richa Chadda’s Hiral Gandhi. This difference of ideological stance gave the movie some of its best moments. Akshaye Khanna simply chewed the scenery with his fantastic act. In the hands of a lesser actor the role would have become extremely detestable but the conviction with which Akshay uncovers the botched-up police investigation with the sharp arguments is a delight to watch. One of the stand out scenes concerning Akshaye’s acting is when the character is splashed with ink by a protester: this is followed by Tarun looking at his reflection in the mirror, the anguish in those eyes is very palpable. Yes, the politics of Section 375 is a bit slippery given the timing of the then Me Too Movement. The movie looks at how men can also be falsely accused of sexual assault but for Akshaye’s acting alone Section 375 is very much worth a watch.
Apart from wonderful performances in negative roles Akshaye has also aced cop characters in the 2017’s Ittefaq a remake of the 1969 one and also Drishyam 2. In Ittefaq the actor effortlessly switched between comedy and being serious: The way Akshaye’s goes about investigating the double murder case gives the movie its best moments. Whether it’s chiding his junior officers for indulging in tea during a crime scene or straightening out a colleague with just a piercing gaze the actor was simply sublime.
In Drishyam 2 Akshaye once again stole every scene that he was a part of. The cat and mouse game between him and Ajay is where the movie gathers momentum. A stand out portion is Akshaye visiting the house of Ajay Devgan’s Vijay Salgoankar. Akshaye doesn’t even raise his voice but the overall demeanour is more than enough. The actor brought in a certain authority in his interactions with Ajay and the family. Mention must also be made of the solid one liners: yes dialogues itself are first rate but Akshaye with his portrayal enhanced them further.
Apart from the above-mentioned parts Akshaye has also proved his versatility in comedy. These include the likes of Hungama (2003), Hulchul and Tees Maar Khan. In Hungama he played the role of Jeetu. An ambitious entrepreneur caught in a web of misunderstandings. Akshaye raised ample chuckles in the scenes of banter with the ever-reliable Paresh Rawal. In Hulchul Akshaye’s character falls in love with a woman from rival family, Akshaye’s scenes with Arshad Warsi playing a friend/sidekick raised ample chuckles. Last but the not the least there is Tees Maar Khan by Farah Khan. In this movie Akshaye played a caricature of a popular Hindi actor. It’s over the top by design but the gleeful abandon with which Akshaye plays the role makes the portions interesting.
This is all about some of Akshaye Khanna’s best performances and how he has evolved over the years. Here’s hoping the actor continues to shine and entertainers the viewers with diverse roles.
An overview into some of the best Hindi movies this year with a brief insight of gender and caste concerning Dhadak 2, Homebound and Phule
2025 like 2024 has also seen a handful of successful films. These movies are Chhaava, Saiyaara, Raid 2 and Aditya Dhar’s monstrous hit Dhurandhar. An interesting feature of 2025 though has been some solid films dwelling into the themes of gender and caste. Topping this list is Shazia Iqbal’s Dhadak 2 based on the hit Tamil movie Pariyerum Permul. Thankfully the movie improved on the original significantly with its depiction of the female protagonist. Unlike the original Dhadak 2 is set in a city but this change doesn’t lessen the caste horrors in any way. Apart from a much-improved gender angle Dhadak 2 also had dialogues related to the reservation taunts faced by the lower caste. There is an important portion in the movie where Priyank Tiwari’s Shekhar talks about the origin of reservation. The dialogue goes like this reservation came because of casteism and not the other way around.
The gender angle came out strongly with a fantastic Tripti Dimri. Vidhi is someone with a mind of her own asking uncomfortable questions however she stays in a privileged bubble with little awareness about the struggles faced by the lower caste. But all that changes when she falls in love with Siddanth Chaturvedi’s Neelesh a timid Dalit youth with big dreams. There is a very poignant conversation between the two when Neelesh opens up about his bitter experiences in the context of a college professor constantly taunting him for his reservation seat. This opens up a new world for Vidhi and the movie progresses the character becomes fiercer. Even when Neelesh keeps a certain distance due to her father Vidhi doesn’t give up on the relationship standing by her love. Apart from standing up for her love Vidhi also questions the patriarchal attitude of her cousin brother played a terrific Saad Bilgrami. Vidhi questions the concept of honour being solely attached to women’s actions. Tripti did an excellent job in bringing out the different shades of Vidhi. Siddanth Chaturvedi was first rate as well making the viewers feel the angst and cheering for the character when Neelesh decides that enough is enough especially the pre climax outburst.
2025 has also been a mini comeback for senior actor Akshay Kumar both in terms of box office and acting performances. A special mention must be made of Kesari Chapter 2 and Jolly LLB 3. In Kesari Chapter 2 Akshay played the role of C Shankaran Nair a real life lawyer who fought against the crown. The movie directed by Karan Singh Tyagi is based on a book The Case That Shook The Empire. As Shankar Nair Akshay did a very fine job in conveying the emotional turmoil along with the fighting spirit. Kesari Chapter 2 also featured a strong woman character in the form of Ananya Pandey’s Dilreet Gill. Dilreet breaks numerous social conventions of that period. Yes, this character doesn’t exist in the book nevertheless this role makes the movie more interesting. A specific mention must be made of an important cross examination portion where Ananya goes from being nervous to takings things head on. Similarly, there is also a scene of Dilreet confronting Shankaran Nair on how he shouldn’t run away, instead he should fight against the crown and bring the truth out. Ananya did an excellent job in both the above-mentioned scenes.
In Jolly LLB 3 Akshay played he played a crooked lawyer developing a social conscious with practiced ease. Akshay particularly shined in the fiery courtroom arguments. There is a palpable intensity in the way Akshay talks about farmer subsidies being dismissed as Khairat (charity). The actor makes you feel the transformation.
Emraan Hashmi too made a solid comeback with a layered role in Suparn Verma’s Haq. Yes, Yami Gautam is the center, but Emraan too has a significant role in making the movie more interesting with his nuanced performance of an entitled husband. True to its the title the movie is an important social drama on women’s rights and respect being equally important to love. The very underrated Akshaye Khanna knocked it out of the park with two solid negative roles. One Chhaava and another Dhurandhar. In Dhurandhar especially he stole the limelight with a swashbuckling act often overshadowing Ranveer.
Following are some of the best Hindi movies in 2025
Saiyaara: Mohit Suri’s Saiyaara is an intense romantic drama done right. Unlike Mohit Suri’s mostly doomed romances Saiyaara has a more contemporary touch. This particularly comes out in the second half when Ahaan Pandey’s Krish Kapoor goes from a hot headed rockstar to a devoted boyfriend. The way Krish takes care of Aneet Padda’s Vani gives relationship goals. He puts his love above the need for fame. At the same time there is no clichéd trope of sacrificing music altogether. Krish’s deep love for Vaani isn’t a weakness. Instead, it adds to his music. This comes out in a thunderous manner during the title song. Through the role of Krish Mohit gave a refreshingly different protagonist, a young man striking the perfect balance between ambition and love. Saiyaara also benefitted from two brilliant leads. Both Ahaan and Aneet Padda were terrific in their respective parts. Rajesh Kumar and Geeta Agarwal as Vani’s parents were also good. Special mention must be made of Alam Khan as KV. KV doesn’t understand Krish’s intense love for Vani, but this doesn’t stop him from standing by his friend.
Music has always been Mohit Suri’s biggest strength and Saiyaara is no different. Tracks like Humsafar and the super title song with fantastic vocals coupled with Ahaan’s acting adds to the movie’s emotional quotient.
Chhaava: Laxman Utekar’s Chhaava treads along the familiar path of Hindu nationalism with Muslims being portrayed as merciless invaders. The movie doesn’t break any new grounds in its treatment of Swarajya and Muslim rulers. Nevertheless, the movie is a worthy big screen experience mainly for the technical department along with a brilliant Vicky Kaushal and Akshay Khanna.
Thankfully Akshay Khanna’s Aurangzeb doesn’t become another version of Ranveer Singh’s Khilji. Akshay evokes terror with just his piercing gaze and overall demeanor. A special mention must be made of the scene where Aurangzeb expresses disappointment on hearing the news of Shivaji’s death. The admiration for Shivaji’s bravery is palpable.
As Sambhaji Vicky Kaushal did an excellent job in nailing both the physicality and emotional side. Keeping aside the historical controversies on the kind of man Sambhaji actually was Vicky was first rate. The action sequences were also a treat to watch especially the portions of Marathas outsmarting the Mughals using guerrilla tactics.
Thamma: Aditya Sarpotdar Thamma is a major gender bender reversing the usual Knight in shining armor trope. Rashmika Mandanna as Taraka/Tarika had a fantastic role with the right of ferociousness and also tender moment: Rashmika was simply in portraying the different shades. Ayushmann Khurrana as a small time reporter Alok also did well especially in the transformation portions. Whether it’s the initial shock of turning into a Betaal himself or adjusting to the new identity Ayushmann brought his usual finesse.
The love story is the core of Thamma. This aspect does take a while to gather momentum but as the plot progresses the viewers become engrossed on where the romance is heading. In the supporting cast veteran actor Paresh Rawal made his presence amply felt. He brought in some chuckles as well bringing gravity in a few emotional sequences. Nawazuddin Siddiqui as the comic villain suffered somewhat on the account of weak writing: nevertheless, Nawazuddin was wonderfully eccentric embracing the whacky tone with flair.
Haq: Suparn Verma’s Haq is a gripping tale of perseverance and fighting for one’s rights. The movie is based on the landmark Supreme Court judgement in the case of Sha Bano. Though set in the 1980’s the battle for dignity holds relevance even today. The movie at no point demonises the Muslim community. The focus is on men twisting laws as per their convenience and using religion as a façade to justify male entitlement irrespective of faith.
Director Suparn Verma along with writer Reshu Nath take their own sweet time in unravelling the different layers. Emraan Hashmi’s Abbas isn’t presented as a chauvinistic villain from the beginning itself. There is a genuine romantic side. As a result of this gradual process the eventual transformation doesn’t come across as jerky. Haq also benefits from solid confrontation scenes with very good acting from both Yami and Emraan. The need for a respect in a relationship and how that’s equally important to love is one of the main themes in Haq. An important conversation between Yami Gautam and the second wife played by Vartika Singh perfectly reflects this, as Shazia Yami nailed both the vulnerable and ferocious side not afraid to voice her opinion in front of so called wise people.
Homebound: Neeraj Ghaywan’s return back to the big screen was very much worth the wait. Unlike his debut feature Masaan the politics of Homebound is more in your face but the effect is equally solid. Through the tale of two friends the director did an excellent job in capturing the struggles of marginalized. In this case it’s both caste and religion. Homebound also struck a chord for its heartfelt depiction of migrant worker’s plight.
The movie doesn’t directly critique the government but for those who can read between the lines the administrative failure is very much palpable. The movie is based on an article written by the noted writer Basharat Peer. In the second half his touch is very visible. Mention must also be made of the love story between Vishal Jethwa’s Chandan and Janhvi Kapoor’s Sudha. Both come from the Dalit community but the dynamics are different with Sudha being the more empowered one. Janhvi has a crucial monologue about educate, organize and agitate. She played the role with the required confidence bringing in a much needed lightness to the otherwise grim proceedings. As Chandan and Shoaib both Vishal and Ishaan got into the skin of their respective characters. They did a wonderful job in bringing the friendship alive. Ishaan especially shined in the sequence where he desperately wants to save his friend by egging him on. It’s so emotionally moving.
Metro In Dino: Anurag Basu’s Metro In Dino is a solid spiritual sequel exploring the complexities of love and marriage. He did an excellent job in reflecting the contemporary society like the fast lifestyles and sometimes fickle nature of marriages. Among the numerous parallel stories the one which stood out the most was the track involving Pankaj Tripati and Konkana Sen Sharma as Monty and Kajol respectively. The marriage is going through a midlife crisis, the relationship has lost its spark and Monty takes the aid of a dating app. This only complicates the matters with Monty chatting with Kajal unknowingly. Kajol also plays along go to see how far her husband would go leading to a chaotic situation. Both Pankaj and Konkana were excellent feeding off each other. Kajol comes across as someone with spine not forgiving her husband easily. Kajol is also not afraid to give back to her mother played by Neena Gupta. Kajol questions the mother about the passive acceptance of her husband’s infidelity and how she doesn’t want to end up like that.
Among the other parallel stories Neena Geena playing an older woman finding liberation in twilight years was also a treat to watch. The transformation of Neena Gupta’s Shivani from a doormat to becoming more independent was wonderful to watch.
Phule: Ananth Narayan Mahadeven’s autobiographical drama Phule is a hard-hitting tale of revolution and solid companionship. The movie tackles issues which are relevant to today’s times. In spite of facing CBFC brunt like Dhadak 2 Phule still came out as an unsparing movie. This is majorly due to the power packed dialogues. There is crispiness to the arguments made by Pratik Gandhi. For example, there is a brilliant portion in which the male protagonist questions an upper caste man for avoiding a barber by doing his own shaving.
Apart from tackling social issues director Ananth Narayan Mahadevan also did an excellent job in showcasing the mutual love and respect Jyothiba and Savitri Bhai Phule had for each other. Jyothiba truly comes across as a feminist in the way he treats Savitri. He acknowledges her contribution numerous times. Jyothiba also stands up for Savitri in an importance scene when the father suggests a second marriage. The love and affection that the two had for each other is difficult to find in any married couple whether it’s of past or present.
Phule also benefitted from solid acting. Both Pratik Gandhi and Patralekha imbibed the strong nature of their respective characters. Pratik brought a quiet intensity expressing a lot with his eyes. Whether its showcasing pain, determination or the tender moments. Patralekha too disappeared into the part capturing the feministic spirit with ease. A special mention must be made of the scene where Savitri Bhai Phule is threatened by an upper caste man. Instead of retreating she holds her ground with a solid response.
Raid 2: Rajkumar Gupta’s follow up to the 2018 Raid works as a utopian tale delivering justice, the beats are familiar nevertheless Raid 2 is engaging especially the antagonist role played by a wonderful Ritesh Deshmukh.
Unlike Saurabh Shukla’s rustic character from the first part Ritesh Deshmukh’s Dada Bai is more of a sophisticated politician. This worked as an interesting contrast to the first part. Ritesh did a very good job in capturing the different shades. He was particularly good in conveying menace with just his eyes. Saurabh Shukla in an extended was also a hoot. He made the movie more entertaining with his punch lines especially in the portions of taking pleasure in Dada Bai’s downfall.
Mrs (Zee 5): Mrs directed by Aarti Kadav is a very good take on internalized patriarchy. Like the original movie The Great Indian Kitchen Mrs also does a fine job in giving a voice to those women relegated to the household. Aarti Kadav brought in small but significant changes enhancing the story. A big change from the original is the profession of the protagonist coupled with the urbane location.
The appliances and the kitchen structure in Mrs are glossier: but the drudgery of a housewife remains the same. The dripping of water is also familiar coupled with numerous cooking shots of same nature.
In this movie Nishant Dahiya plays a gynaecologist. This element adds an interesting layer as man is able to understand other women’s bodies but when it comes to his own wife there is a very mechanical process. He doesn’t give a care on whether she also wants to participate in that moment. Sanya Malhotra as Richa did an excellent job in showcasing the different shades making the viewers root for her.
Stolen (Amazon Prime): Karan Tejpal’s Stolen is a taut social thriller/drama; The atmospherics are similar to Navadeep Singh’s NH10 but Stolen has its own identity. The distinctiveness comes from the plot centred on two brothers. One of the brothers played by Shubham Vardan is the more considerate one. Abhishek Benarjee on the other hand is a typical corporate guy trying his level best to dissuade the other one from helping a poor woman.
This sibling dynamics with an emotional undercurrent gives the movie some of its best moments. The cinematography of Ishaan Ghosh also played a significant role. The visuals had a lived in feel. A major divide between the privileged and underprivileged came out in a solid manner as well.
Abhishek Benarjee in one of his best characters till date did an excellent job. The way Abhishek showcased the eventual transformation was fantastic to watch. Shubham Vardan also provided solid support. Mia Maezler as a desperate woman in search of her missing child was good too bringing in a raw intensity.
Aditya Dhar’s second directorial is high on style and solid word building but suffers due to an overblown narrative. The predictable beats of jingoism with Pakistan as the arch enemy gets tiring. Akshaye Khanna steals the show as the swashbuckling Rehman Dakait. He overshadows leading man Ranveer Singh on numerous occasions
Starcast: Ranveer Singh, Akshaye Khanna, R Madhavan, Arjun Rampal, Rakesh Bedi, Sanjay Dutt, Sara Arjun and others
Genre: Action/drama
Writer, director and producer: Aditya Dhar
Additional Producers: Lokesh Dhar and Jyoti Deshpande
Production Companies: Jio Studios and B62 Studios
Music: Shashwat Sachdev
Cinematography: Vikas Nowalakha
Running time: 3 hours and 32 minutes
Aditya Dhar has made a solid place for himself as a patriotic storyteller. Whether its Uri: The Surgical Strike or Article 370. The latter wasn’t directed by Aditya Dhar but he was one of the screenplay writers along with the story. These films are well mounted nationalistic movies making them even more dangerous. Dhurandhar belongs to the same terrain with high pitch nationalism and a solid technical department.
The storyline of Dhurandhar starts off with the 1999 Kandahar episode followed by the 2001 Parliament attacks. This leads to the formation of operation Dhurandhar. R Madhavan is Ajay Sanyal based on National security advisor Ajit Doval. Ranveer Singh is the undercover spy tasked with an enormous responsibility. He has to win the trust of an influential figure Rehman Dakait (a scene stealing Akshaye Khanna). Nothing more can be revealed as the plot is very dense with switching loyalties and backstories.
A strong aspect of Dhurandhar is the recreation of 200’s Pakistan. There is a gritty texture to the depiction of gang wars and Pakistan’s political atmosphere. A major credit for that goes to production designer Saini S Johary. The settings have an authentic tone successfully transporting the viewers. The audiences feel that they are travelling alongside these characters. The cinematography of Vikas Nowalaka is of a good order as well. The way he captures the tension filled atmosphere with a particular lighting as well as the sweeping landscapes is first rate. Shashwat Sachdev’s background score is also rousing. The songs are more experimental than of the popular type, but it goes with the movie’s narrative.
The action chorography is deliberately gruesome: at the same time the way it has been shot especially hand to hand combats is praiseworthy. The climatic faceoff between Sanjay Dutt and Akshaye Khanna particularly stands out. The physical agility of both the actors is commendable.
The performances of the vast ensemble also help this sprawling saga. The ones who stands out are Akshaye Khanna and Rakesh Bedi. Akshaye Khanna has always been a chameleon and here too the actor is first rate. As the Karachi inspired crime lord Akshaye chews the scenery with his effortless acting. There is a magnetic charm about the man in spite of the brutality. In spite of the brutal nature there is also an emotional side: this comes out in an impactful manner during the portions of son’s death, and the actor simply nails the different shades. When Akshaye is there on the screen it’s hard to take your off him. The combination scenes between Ranveer and him is a solid example of this. Rakesh Bedi as the cunning politician also makes a strong impact. His character switches colors like a chameleon and Rakesh Bedi does complete justice to it. The scenes featuring Rakesh Bedi gives Dhurandhar some of its best moments.
R Madhavan as the fictional Ajit Doval brings in an understated gravity. Sanjay Dutt as the Pakistani cop desperate to settle scores with Rehman Dakiat also makes his presence amply felt. Arjun Rampal as the volatile ISI agent is also good with his sinister villainy. Ranveer Singh gets somewhat lost in this huge cast. His character is more internalized and Ranveer does well: however, the killer impact is missing. The actor only comes alive only in the pre climax where he lets it all out.
Sara Arjun as the love interest though sticks out like a sore thumb. More than the glaring age gap what sticks out is how fast her character falls in love with the hero. It happens over an escape from a police raid. The way Ranveer flirts with Sara Arjun’s Yalina is more chessy than romantic. Other than being a moral support for the hero Yalina has nothing more to do. For a nineteen-year-old Yalina has zero interest in doing anything with her life. Infact the movie has no prominent female characters. Another major problem with Dhurandhar is its exhausting length coupled with the familiar anti Pakistan position. The depiction of Pakistan as the hub of all terrorist activities is a done to death trope. It doesn’t evoke much reactions especially for the neutrals who aren’t into Pakistan bashing. The movie also features dialogues which are a throwback to Uri: The Surgical Strike. They come across as cliched rather than rousing.
The second half also meanders with some superficial arcs. Some of the subplots are merely touched as a founding stone for the second part. This results in a certain fatigue making the viewers wish that the film concludes soon.
Final word: Dhurandhar is best enjoyed for those who like gritty action dramas with ample doses of patriotism and let’s hate our neighbor.
This Laxman Utekar’s directorial is a delight for admirers of Maratha warriors. Just like the recent historicals, ‘Chhaava’ too has a strong undercurrent of saffronisation. Still the solid technical work coupled with the towering performances makes this a worthy big screen spectacle.
Main Cast: Vicky Kaushal, Rashmika Mandanna, and Akshaye Khanna
Director: Laxman Utekar
Producer: Dinesh Vijan
Music Director: AR Rahman
Cinematography: Saurabh Goswami
Rating: 3.5/5
In the last few years, Hindi cinema has seen a huge increase in the Hindutva influx, this doesn’t just pertain to the numerous war dramas, but this list also includes historical fiction based on the wars involving the Hindu kings, particularly the Rajput and Maratha warriors.
Very good examples of these are Sanjay Leela Bhansali’s Padmavaat (2018) and Om Raut’s Tanhaji (2020). In these films, the Muslim rulers are presented as merciless invaders from whom the Hindu nation should be saved.
Laxman Utekar’s first attempt at historical fiction also treads on the same path. After directing a slew of feel-good movies like Luka Chuppi (2019) and Zara Hatke Zara Bachke (2023) the cinematographer turned director takes an extremely different path from his previous works.
Synopsis
Chhaava meaning a lion cub is based on a novel of the same name written by Shivaji Sawant. The book covered the life and times of the very noted Maratha warrior Chhatrapati Sambhaji.
It’s hard to say what percentage of Chhaava is based on its original source material and how much fiction Laxman Utekar has added. but the movie does a very fine job of capturing the bravery of Chhatrapati Sambhaji managing to make the viewers feel for the man particularly if you are an admirer of Maratha warriors.
In simple terms, the core plot of Chhaava focuses on the events which transpired from 1680 to 1689, a period marked by the relentless pursuit of Mughal emperor Aurangzeb (a fabulous Akshaye Khanna).
The movie celebrates the valour of Chhatrapati Sambhaji (an outstanding Vicky Kaushal) in fighting against the troops of Aurangzeb. Rashmika Mandanna plays Maharani Yesubai— a very important pillar of support for Sambhaji.
Vicky Kaushal as Sambhaji
‘Chhaava’ is a historical drama. (X)
Chhaava works largely due to the emotional depth brought by Laxman Utekar. He and the screenplay writers don’t just depict Sambhaji as a fierce warrior but also reveal a vulnerable side to him.
There is a palpable sense of grief in the way Sambhaji speaks about missing his mother’s love and a recurring nightmare involving his father. Some of the dialogues effectively convey the brutalities of war, where countless lives are lost.
As Sambhaji, Vicky Kaushal fully embodies the role, delivering a top-notch performance. With this role, Vicky once again proves why he is a versatile actor, able to adapt to various genres, whether it’s the light-hearted Bad News or the more emotionally intense roles in Sardar Udham Singh and Chhaava.
Vicky shines the most in scenes where he portrays the psychological toll endured by a warrior king. The torture sequence involving Sambhaji is another standout moment where Vicky excels.
While the historical accuracy of these moments may be debatable, the way Vicky portrays Sambhaji’s fighting spirit, even while being physically tormented by Aurangzeb, creates an emotional connection with the character.
Performances
Rashmika Mandanna as Rani Yesubai. (X)
Akshay Khanna as Aurangzeb makes for more than a worthy tormentor. While there is no denying the amazing prosthetic work Akshay Khanna with his acting also makes the part memorable.
Thankfully there are no unnecessary theatrics; Akshay invokes terror with just his demeanour and piercing gaze. He excels in showcasing Aurangzeb’s huge hunger for power.
Rashmika Mandanna as Yesubai plays a strong partner in the same mould as her last outing Pushpa 2. She delivers a fine performance perfectly showcasing the inner strength of a warrior’s wife. A particular mention must be made of her act in the portions following Sambhaji’s capture.
Vineet Kumar Singh as Kavi Kalash shines the brightest among the supporting cast. He plays his part with a lot of warmth. The friendship between Sambhaji and him gives the movie some of its best moments.
Strong technical aspects
Among the strong aspects of Chhaava, the technical department deserves special mention. The fight sequences in the second half are a delight, especially for those who enjoy rustic action. There are numerous instances of the Marathas outsmarting the Mughals using guerrilla tactics. The way these ambush sequences unfold with surprise attacks resembles a gripping chess game.
Vicky Kaushal in ‘Chhaava’. (X)
Cinematographer Saurabh Goswami delivers high-quality work, successfully capturing both the grand scale and intense action set in the forests. Special mention should also be made of the scenes following the destruction of the war, which are staged realistically.
AR Rahman’s background score and music complement the film well. The tune “Aaye re toofan” serves as a powerful war anthem with a touch of Maharashtrian folk. On the other hand, “Jaane Tu,” a romantic number, perfectly captures the understated romance between Vicky and Rashmika.
A major flaw in Chhaava is its core plot, which suffers from a significant hangover of clichés found in numerous films set in the same historical context.
Additionally, the film doesn’t break new ground in its portrayal of Muslim characters. The heavy emphasis on the concept of Swarajya, along with the lack of subtlety in the dialogues surrounding it, can test the audience’s patience.
Final take
To sum it up Chhaava works as a big-screen spectacle, especially for fans of Vicky Kaushal and those who like stories of brave Maratha warriors.
Production companies: Viacom 18 Studios, T- Series Films and Panorama Studios
Original story: Jeetu Joseph
Based on: Drishyam 2 (Malayalam) by Jeetu Joseph
Music: Devi Sri Prasad
Genre: Crime thriller/drama
Running time: 2 hours and 20 minutes
Jeetu Joseph’s Drishyam films can easily fit in any language; the emotions in both the films are something that audiences can connect to irrespective of where they come from. When Jeetu Joseph made Drishyam 2 there were certain apprehensions about the sequel matching up to the original. But the director proved his skeptics wrong by delivering a highly satisfying sequel. Not surprisingly Drishyam 2 was remade into Telugu as well; Jeetu Joseph directed the Telugu version as well. Now you have Hindi Drishyam 2 headlined by Ajay Devgan and directed by Abhishek Pathak. Late Nishikant Kamat had directed the first part.
Drishyam 2 comes at a time when we are going through a saturation of remakes. However the film has created a certain buzz thanks to a well cut trailer and also the star cast. This time there is Akshaye Khanna too playing the police officer who takes on Ajay Devgan’s Vijay Salgaonkar.
The story of Drishyam 2 starts off with a slight recap of the first part. This recap helps the audiences to reconnect with the events. Seven years have passed but Vijay’s family is still haunted by that traumatic night and the events that followed. Vijay has now got his own film theatre. In fact he is writing a story too with plans of producing a film. Former inspector Meera Deshmuk (Tabu) is still searching for answers and closure regarding her son’s death. Nandini (Shriya Saran) cannot sleep alone at night. Whenever Vijay isn’t there she asks her neighborhood lady to sleep her. Anju (Ishita Dutta) suffers from fits during high tension moments. Tarun Ahlawat (Akshay Khanna) is a friend of Meera and is hell bent on making sure that Vijay is punished, however that is easier said than done. This is the basic synopsis.
The first half of Drishyam 2 is slow paced and a lot of time is spent on setting things up. But Abhishek Pathak does a good job in keeping the audiences invested. The family dynamics don’t have the same warmth as the Malayalam and Telugu versions, but still there is enough meat. Some of the twists won’t be a surprise for those who have seen the Malayalam film. However there is a lot there for even those who have seen the Malayalam film.
The film gathers steam with the introduction of Akshay Khanna. Akshay Khanna commands the viewer’s attention with his strong screen presence. The cat and mouse game which proceeds keeps the audiences engrossed. My favorite bit in the second half is when Akshay’s character visits the family of Vijay. The tension is palpable throughout. This in spite of the fact that Akshay Khanna never raises his voice, his demeanor is more than enough. Akshay Khanna brings a certain authority to his part and his one liners are too good.
The background score by Devi Sri Prasad also helps immensely in building up the suspense. The background score adds to the thrills particularly in the second half when things start getting serious. Sudhir Kumar’s cinematography is another major plus for the film. His cinematography adds to the immersive experience.
Much like the original Malyalam film and the Telugu remake here too as audiences you empathize with both Ajay Devgan and Tabu. There are no heroes and villains here. Both these actors don’t need a particular introduction about their acting capabilities. Their work speaks for themselves.
Ajay Devgan is brilliant as the protective husband and father who would go any lengths to save them. Tabu has less screen time but she commands your attention as the mother who is waiting to strike back.
Shriya Saran is fairly effective as Nandini but Meena did a better job in the Malayalam and Telugu Films. Kamlesh Sawant brings in the required ruthless to his part of a cop who is thirsty for revenge. Final word: Drishyam 2 is a worthy successor. There are enough thrills backed by some solid performances.
